A study of cadmium yellow paints from Joan Miró’s paintings and studio materials preserved at the Fundació Miró Mallorca

Lobon, Mar Gomez; Ghirardello, Marta; Darder, Enric Juncosa; Cabello, Carlos Palomino; Bauzá, Marta; Cotte, Marine; Burnstock, Aviva; Nevin, Austin; Amato, Silvia Rita; Izzo, Francesca Caterina; Comelli, Daniela

doi:10.1186/s40494-023-00987-4

Cited by 5 publications

(1 citation statement)

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“…The first approach allows for the study of full-scale works of art [14,15] but sacrifices the ability to examine small details. In contrast, the second approach provides high-resolution insights into microscopic samples taken from artworks [16,17]. However, it proves inadequate for studying non-flat samples due to the short depth of focus of microscopy objectives.…”

Section: Introductionmentioning

confidence: 99%

Enhancing hyperspectral imaging through macro and multi-modal capabilities

Ardini,

Corti,

Ghirardello

et al. 2024

J. Phys. Photonics

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Hyperspectral Imaging (HSI) has emerged as an effective tool to obtain spatially resolved spectral information of artworks by combining optical imaging with spectroscopy. This technique has proven its efficacy in providing valuable information both at the large and microscopic scale. Interestingly, the macro scale has yet to be thoroughly investigated using this technology. While standard HSI methods include the use of spatial or spectral filters, alternative methods based on Fourier-transform interferometry have also been utilised. Among these, a hyperspectral camera employing a birefringent common-path interferometer, named TWINS, has been developed, showing a high robustness and versatility. In this paper, we propose the combination of TWINS with a macro imaging system for the study of cultural heritage. We will show how the macro-HSI system was designed, and we will demonstrate its efficient capabilities to collect interferometric images with high visibility and good signal of both reflectance and fluorescence on the same field of view, even on non-flat samples. The relevance of the macro technology is demonstrated in two case studies, aiding in the analysis of biofilms on stone samples and of the degradation of dyed textiles.

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Section: Introductionmentioning

confidence: 99%

Enhancing hyperspectral imaging through macro and multi-modal capabilities

Ardini,

Corti,

Ghirardello

et al. 2024

J. Phys. Photonics

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Characterisation of rouaite, an unusual copper-containing pigment in early modern English wall paintings, by synchrotron micro X-Ray diffraction and micro X-Ray absorption spectroscopy

Purdy,

Critchley,

Holé

et al. 2024

Appl. Phys. A

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Although the use of verditer, a synthetically produced copper carbonate pigment chemically analogous to azurite (Cu3(CO3)2(OH)2), in early modern wall paintings is regularly reported in grey literature, its detection in wall paintings is typically unavailable in a public forum. This article focusses on two particular samples (M9 and T1) initially suspected to contain copper blue pigments from decorative wall painting schemes in domestic houses across a range of status groups, in eastern and south-eastern England, dated to 1550-1650. Interest in verditer synthesis procedures is found in textual sources including both historic manuals and current scientific literature. The unreliability of the synthesis, particularly for blue verditer, however, is widely documented. Here, we report a multimodal study employing SEM-EDX, SR-$$\mu$$ μ PXRD mapping, and SR-$$\mu$$ μ XANES spectroscopy to characterise the phases present in two wall painting samples, one c. 1600/early 1600s (M9) and the other c. 1600 (T1). In addition to assessment of the presence of verditer, this study presents the first identification of rouaite, a synthetic copper hydroxynitrate mineral (Cu2(NO3)(OH)3), in wall painting samples. Rouaite, shown in a previous publication to be a common byproduct of replications of the historical verditer synthetic recipes, appears in combination with verditer and alone. Its infrequent identification in paintings and murals is considered in light of analytical challenges. The presence of copper hydroxychlorides is also discussed in the context of rouaite stability and degradation. These results represent a significant development in our knowledge of the early modern palette in England and historical verditer synthesis and advances our understanding of how these painting schemes may be best preserved in the future.

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